Most PR folks still maintain a buckshot mentality with whom to pitch for editorial content, whom to pitch for exclusives, whom to pitch for premieres, etc. With most PR companies, (including ourselves earlier on in our development) it appears as if everyone is haphazardly casting the widest net possible just to see what they can get. That’s ineffective for the artists, and it exasperates the writer who watches their inbox become a monster. When a writer does decide to feature an artist pitched by a publicist, you then bear witness to posts splattered across the Internet over a number of weeks, while the band’s social networks are not efficiently pointing current fans to an influential writer responsible for good editorial coverage. The band’s social network is not creating the best fan experience, nor are they using their fanbase to help generate new readers to worthy sites with writers who have taken the time to dig into their creation.
No matter how small or large an artist’s fan base is, a structured media roll out has a much greater effect when it’s efficiently managed from all sides – social media, online magazines, blogs, traditional print – across all the visible networks of the artist’s current fan base, as well as our own networks. Correctly implementing this sort of viral sharing, the artist gains a larger potential reach to other fans.
It’s my hope that we can do things differently at Crash Avenue Media & Management. I firmly believe that we can be the messenger that leads the flock of potential fans to the message of the artist we’re representing.
Jeffrey Smith founded Crash Avenue back in 2004. He spent his childhood less than a mile away from the original Kentucky Friend Chicken. A former musician, he’s retired from the performing artist arena and his unused B.M. degree in jazz studies is now about as useless as his blow dryer. After spending his early 20s as a bandmate in his own personal VH1 Behind The Music nightmare of music industry skullduggery, he emerged on the other side of the industry vowing to be an outsider forevermore. Luckily, the gravitational pull of the music industry took hold in 2002 when he began a small indie label in Louisville that served as a slingshot into what is now beloved as Crash Avenue Media & Management.
Spencer Keasey Scanlon is a Western PA-raised, Brooklyn-based music nerd, who tripped and fell into the music publicity rabbithole in 2006. Starting out as an publicity intern at Central Park SummerStage, Spencer has gone on to work all over the musical spectrum- over the past 8 years, he’s put in time at Girlie Action, Pitchfork, Universal Music Group (Republic Records/Casablanca Records), the Village Voice and more. His past clients are as diverse/awesome as his experience, having worked with Morrissey, The Cure, Santigold, Holy Ghost!, The Rapture, DFA Records, Totally Enormous Extinct Dinosaurs, Christopher Paul Stelling, Mogwai, The Weeknd, Kavinsky, James Blake, The Lonely Island and countless others. He lives a nice life in Park Slope with his ladyfriend, and their cute-ass beagle, Billie.
Dana Cooper is a music publicist by day and mother to the world’s cutest dog by night. After spending some time at WMG and The Musebox, she landed a gig at Girlie Action Media, where she worked with artists like Amanda Palmer, They Might Be Giants, Escort & Japanther. Originally from the quaint hippie town of New Paltz, NY, Dana now lives in Greenpoint with her boyfriend & pup, Kirby.
Paige Peterson started out as a band nerd, but has now joined us on the dark side, AKA public relations. Before moving to Louisville she was spelunking deep within the underground of Denver music scene with bands like Gangcharger and Good Housekeeping. Paige brings a certain je ne sais quoi to the PR game, f***ing loves The Fall, and we’re thrilled to have her as our new Assistant Publicist.